Relevant bibliographies by topics / Artists Anonymous (Group of artists)

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Artists Anonymous (Group of artists)'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Artists Anonymous (Group of artists)"

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Van Der Hoek, Klaas. "Antonis Rogiersz. uten Broec. Een verluchter uit Utrecht, werkzaam in de Zuidelijke en de Noordelijke Nederlanden." Oud Holland - Quarterly for Dutch Art History 117, no. 3-4 (2004): 119–36. http://dx.doi.org/10.1163/187501704x00340.

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AbstractActive in the Southern Netherlands in the mid-fifteenth century was a miniaturist who signed his work twice and who can be identified as Antonis Rogiersz. uten Broec. In addition to his contributions to the two manuscripts in which he included his name, he worked on three other Southern-Netherlandish manuscripts. Antonis' style as manifested in these five manuscripts reemerges in a group of illuminated manuscripts produced in Utrecht in the 1460s. They are attributed to the so-called Master of the Boston City of God. On the basis of stylistic arguments and circumstantial evidence of a codicological nature, I believe that this until now anonymous miniaturist is no one less than Antonis uten Broec. To substantiate this identification, research was conducted in the Utrecht archives on the Antonis uten Broec known from Southern-Netherlandish manuscripts. He appears to have been a member of a family that had been living and working in Utrecht for generations. It can hardly be doubted that Antonis' roots are in Utrecht and it is certain that he was buried there in 1468/'69. No matter how fragmentary, the mentions in Utrecht archival material afford biographical data on one of the generally anonymous miniaturists in the Northern Netherlands. At this point, of these artists, Antonis uten Broec is the best documented and, moreover, pursued his career in both the Northern and Southern Netherlands. This knowledge adds to our insight regarding the mobility and reciprocal influence of artists in both regions.
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Damery, Shannon, and Elsa Mescoli. "Harnessing Visibility and Invisibility through Arts Practices: Ethnographic Case Studies with Migrant Performers in Belgium." Arts 8, no. 2 (April 4, 2019): 49. http://dx.doi.org/10.3390/arts8020049.

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This paper endeavors to understand the role of arts in migration-related issues by offering insights into the different ways in which artistic practices can be used by migrants and investigating migrants’ differing objectives in participating in the arts. Through the exploration of the initiatives of undocumented and refugee migrants involved in artistic groups in Belgium, this paper compares the motivations of the performers and concludes that art can operate as an empowering tool for migrants as it constitutes a space for agency, notwithstanding the specific scope of which it is contextually charged. It allows migrants to render themselves visible or invisible, depending on their contrasting motivations. The creative productions of the first group, composed by members of “La Voix des sans papiers de Liège”, a collective of undocumented migrants, corresponds to an explicit effort of political engagement in the local context. The other examples are of undocumented and refugee artists joining musical groups with no specific aim of promoting the cause of undocumented and refugee persons. The choice to be involved in such groups highlights their desire to be, in some ways, invisible and anonymous while participating in this collective of artists. Through these examples, we see that art offers opportunities for migrants to actively participate in the socio-cultural and political environment in which they reside and to claim various forms of official and unofficial belonging whether it occurs through visibility or invisibility.
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Kite, Stephen. "Colin St John Wilson and the Independent Group: Art, Science and the Psychologising of Space." Journal of Visual Culture 12, no. 2 (August 2013): 245–61. http://dx.doi.org/10.1177/1470412913491069.

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As an architect with the London County Council (LCC), a newspaper columnist, friend of artists and an incipient collector, Colin St John Wilson is a fascinating figure in the interacting circles of 1950s London. It was Wilson’s sketch-plan that ordered the ‘market-stalls’ of the This is Tomorrow exhibition and – in the opinion of Theo Crosby – the display he created with architect Peter Carter, engineer Frank Newby and sculptor Robert Adams most closely achieved the exhibition’s original aim of an anonymous synthesis of the arts. In this article, the author interprets Wilson’s life, work and theory as both critique and commentary in an examination of three pertinent issues within the Independent Group: the possibilities of artistic collaboration in architecture; the creative tension in architecture between science/technology and art/humanism; and the potential for a deeper psychologising of space – linked to psychoanalytical debates of the time. Interrogating these concerns is of importance, the author proposes, as they were so central to the discourses and form-making of architecture both at the time and in the immediate futures of the 1960s, the 1970s and afterwards.
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György, Horváth. "Adalékok Kondor Béla sors-történetéhez." Művészettörténeti Értesítő 69, no. 2 (March 30, 2021): 171–256. http://dx.doi.org/10.1556/080.2020.00011.

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In the course of my research in archives – in search of documents about the history of the Art Foundation of the People’s Republic (from 1968 Art Fund) – while leafing through the sea of files in the National Archives of Hungary (MNL OL) year after year, I came across so-far unknown documents on the life and fate of Béla Kondor which had been overlooked by the special literature so far.Some reflected the character of the period from summer of 1956 to spring 1957, more precisely to the opening of the Spring Exhibition. In that spring, after relieving Rákosi of his office, the HWP (Hungarian Workers’ Party, Hun. MDP) cared less for “providing guidance for the arts”, as they were preoccupied with other, more troublesome problems. In the winter/spring after the revolution started on 23 October and crushed on 4 November the echelon of the HSWP (Hungarian Socialist Workers’ Party, Hun. MSzMP) had not decided yet whether to strike a league with extreme leftist artistic groups or to pay heed to Memos Makris (Hun. Makrisz Agamemnon), the ministerial commissioner designing the reform of the artists’ association and organizing the Spring Exhibition and to leave the artists – so-far forced into the strait-jacket of socialist realism – alone. I found some documents which shed bright light on the narrow-mindedness of the dogmatic artistic policy trying to bend the artists toward its goals now with the whip, now with milk cake.I start the series of recovered documents with a ministerial file dated summer 1956 on the decision to purchase Kondor’s diploma work (the Dózsa cycle). The next piece of good news is a record of the committee meeting in February 1957 awarding Kondor a Derkovits scholarship. This is followed by ministerial letters – mirrors of the new artistic policy – by a changed, truly partyist scholarship committee which apparently revel in lecturing talented Kondor who was not willing to give up his sovereignty, so his works were often refused to be bought on state funds for museums.In addition to whip-lashing documents, I also present a few which offered some milk cake: a letter inviting him to a book illustrating competition called by the Petőfi Literary Museum and one commissioning him to make the sheets on the Heves county part of a “liberation album”.Next, I put forth a group of illumining documents – long known but never published in details: the files revealing the story of the large panels designed for the walls of the “Uranium city” kindergarten in Pécs and those revealing the preparations for the exhibition in Fényes Adolf gallery in 1960 and the causes of the concurrent tensions – including texts on decisions to hinder the publication of Lajos Németh’s catalogue introduction.The last group includes futile efforts by architects to get Kondor commissions for murals. They give information on three possible works. Another for Pécs again (this time with Tibor Csernus), for works for a “men’s hostel” and on the failure of the possibility. The other is about works for Kecskemét’s Aranyhomok Hotel, another failure. The third is about a glass window competition for a new modern hotel to be built in Salgótarján, to which Kondor was also invited, but the jury did not find his work satisfactory in spite of the fact that the officials representing the city’s “party and council” organs, and the powerful head of the county and town, the president of the county committee of the HSWP all were in favour of commissioning him.Mind you, the architects’ efforts to provide the handful of modern artists with orders for “abstract” works caused headache for the masterminds of controlled art policy, too. On the one hand, they also tried to get rid of the rigidity of the ideologically dogmatic period in line with “who is not against us, is with us”, the motto spreading with political détente, and to give room to these genres qualified as “decoration”. On the other hand, they did not want to give up the figurative works of socialist contents, which the architects wanted to keep away from their modern buildings. A compromise was born: Cultural Affairs and the Art Fund remained supporters of figurative works, and the “decorative” modern murals, mosaics and sculptures were allowed inside the buildings at the cost of the builders.Apart from architects, naturally there were other spokesmen in favour of Kondor (and Csernus and the rest of the shelved artists). In an essay in Új Irás in summer 1961 Lajos Németh simply branded it a waste to deprive Kondor of all channels except book illustration, while anonymous colleagues of the National Gallery guided an American curator to him who organized an exhibition of Kondor’s graphic works he had packed into his suitcase in the Museum of Modern Art in Miami.From the early 1963 – as the rest of the explored documents reveal – better times began in Hungarian internal and cultural politics, hence in Béla Kondor’s life, too. The beginning is marked by a – still “exclusive” – exhibition he could hold in the Young Artists’ Studio in January, followed by a long propitiatory article urging for publicity for Kondor by a young journalist of Magyar Nemzet, Attila Kristóf. Then, in December Kondor became the Grand Prix winner of the second Graphic Biennial of Miskolc.From then on, the documents are no longer about incomprehensible prohibitions or at time self-satisfying wickedness, but about exhibitions (the first in King Stephen Museum, Székesfehérvár), prizes (including the Munkácsy Prize in April 1965), purchases, the marvellous panel for the Grand Hotel on Margaret Island, the preparations for the Venice Biennale of 1968, the exhibition in Art Hall/Műcsarnok in 1970 and its success, and Kondor’s second Munkácsy Prize.Finally, I chanced upon a group of startling and sofar wholly unknown notes which reveals that Béla Kondor was being among the nominees for the 1973 Kossuth Prize. News of his death on 12 December 1972, documents about the museum deposition of his posthumous works and the above group of files close the account of his life.I wrote a detailed study to accompany the documents. My intention was not to explain them – as they speak for themselves – but to insert them in the life-story of Kondor, trying to find out which and how, to what extent contributed to the veering of his life-course and to possibilities of publicity for his works. I obviously included several further facts, partly in the main body of the text, and partly in footnotes. Without presenting them here, let me just pick one or two.Events around the 1960 exhibition kindled the attention not only of the deputy minister of culture György Aczél, but also of the Ministry of the Interior: as Anikó B. Nagy dug out, they asked for an agent’s report on who Kondor was, what role he was playing among young writers, architects, artists, the circle around Vigilia and the intellectuals in general. Also: what role did human cowardice play in banning the panels for the Pécs kindergarten, and how wicked it was – with regulations cited – to ask back the advance money from an artist already hardly making a living with the termination of the Der ko vits scholarship. Again: what turn did modern Hungarian architecture undergo in the early sixties to dare and challenge the still prevalent culture political red tape? It was also a special experience to track down and describe the preparations for the Hungarian exhibition of the Venice Biennial of 1968 and to see how much caution and manoeuvring was needed even in those milder years to get permission for Béla Kondor (in the company of Tibor Vilt and Ignác Kokas) to feature in the pavilion. Finally, it was informative to follow the routes of Kondor’s estate as state acquisitions and museum deposits after his death which foiled his Kossuth Prize.
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Dolata, Dorota. "Na Śródce rewolucji nie było, czyli słabe więzi w procesie rewitalizacji." Człowiek i Społeczeństwo 33 (June 15, 2012): 117–31. http://dx.doi.org/10.14746/cis.2012.33.8.

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The term “weak ties” can be discussed in the context of both, interpersonal relationships in an anonymous metropolis and a mass society. Can the case of ródka in Pozna" be applied to certain questions relating to the phenomenon of weak ties? It is clearly visible, that revitalisation in this area of the city has lost its momentum now. Municipal program was a temporary way to avoid progressive degradation and increasing gentrification. However, in the most lively period of projects and events at ródka experts often referred to the traditional ties between inhabitants and invoked the urgency of their activities. Even the minimum effort and engagement was to trigger the renovation processes and contribute to the so-calledsustainable development of ródka. It is worth asking at this point, who emphasized the role of local relations and animated the sequence of revitalizing events? What were the goals of revitalization animators? Did we come across the true cooperation of local residents, or perhaps the social participation was limited to the show for "tourists" from other parts of the city? Were the city officials able to engage the community of ródka? And if not the officials – were the artists able to (re)build relationships and connections between inhabitants? Their projects – both individual and group ones – are an important material for research To understand the growing complexity of the case of ródka, it is essential to discover its historical background and consider the relative isolation of ródka in the previous times. In the first half of the twentieth century, the district was perceived as a local base of crafts and small trade. Its distinctive mark were strong neighborhood ties. Can these ties – partly mythologized – now become the driving force of the revitalization?
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Cole, Thomas B. "Group of Artists." JAMA 307, no. 7 (February 15, 2012): 642. http://dx.doi.org/10.1001/jama.2012.99.

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Green, Alison. "Citizen Artists: Group Material." Afterall: A Journal of Art, Context and Enquiry 26 (January 2011): 17–25. http://dx.doi.org/10.1086/659292.

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Anonymous. "Artist-Writers, Writer-Artists: An Anonymous Vox Pop." Circa, no. 122 (2007): 28. http://dx.doi.org/10.2307/25564856.

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Vogel, Susan Mullin. "Known Artists but Anonymous Works: Fieldwork and Art History." African Arts 32, no. 1 (1999): 40. http://dx.doi.org/10.2307/3337537.

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Fowler, Joan. "Women Artists Action Group Seminar." Circa, no. 41 (1988): 26. http://dx.doi.org/10.2307/25557339.

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Dissertations / Theses on the topic "Artists Anonymous (Group of artists)"

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Apte, Savita. "Unchallenged dichotomies : modernism and the Progressive Group in India." Thesis, SOAS, University of London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.504469.

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Duran, Adrian R. "Il Fronte Nuovo delle Arti realism and abstraction in Italian painting at the dawn of the Cold War, 1944--1950 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.87 Mb., p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3220804.

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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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Cass, Jeremy Leeds. "FASHIONING AFROCUBA: FERNANDO ORTIZ AND THE ADVENT OF AFROCUBAN STUDIES, 1906-1957." Lexington, Ky. : [University of Kentucky Libraries], 2004. http://lib.uky.edu/ETD/ukyhpst2004d00216/cassdissertation.pdf.

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Thesis (Ph. D.)--University of Kentucky, 2004.
Title from document title page (viewed Jan. 7, 2005). Document formatted into pages; contains v, 253 p. Includes abstract and vita. Includes bibliographical references (p. 236-250).
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Borders, Elizabeth Furlong. "Working in an Artist Collective in Portland Oregon: The artistic benefits of cooperation and place in an underground art world." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/188.

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This ethnography explores the underground art world in Portland, Oregon by showing how a Portland area artist collective, Oregon Painting Society, navigates their art world. Participant observation, in-depth interviews, and a short latent content analysis triangulate data to show the features and values of the underground art world. Using Becker's concept of art worlds, I show how artists working outside of a traditional art career in a commercial gallery system do their work by exploring how Portland's art world is structured and sustained. I find that group work, cooperation, and resource sharing in a vibrant neighborhood based social network enables artists to substitute resources usually provided by gallery representation and sustain their ability to make artwork without financial support. This is a network that rejects the competitive structure of the commercial system and runs more smoothly the more artists participate in it. I also explore the reasons for Portland's particular ability to support this kind of environment, citing geographic proximity to other art cities, DIY cultural roots, neighborhood structure, affordable city amenities, and a creative class population.
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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.

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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
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Stokes, Justine Frances. "We're Changing the Way We Do Business: A Critical Analysis of the Dixie Chicks and the Country Music Industry." Oxford, Ohio : Miami University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1228361434.

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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.

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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.

Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
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Goldman, Noémie. "Un Monde pour les XX: Octave Maus et le groupe des XX :analyse d'un cercle artistique dans une perspective sociale, économique et politique." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209691.

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Notre thèse se concentre sur la question des mécanismes de restructuration du système du monde de l’art à Bruxelles à la fin du XIXe siècle. Nous cherchons à démontrer comment une nouvelle scène artistique construite autour du cercle des XX à Bruxelles, dont l’épanouissement sera pris en charge par l’animateur d’art Octave Maus, produit un art qui est influencé par les enjeux sociaux et politiques portés par un milieu défini de manière sociale, culturelle et générationnelle.

Nous avons ainsi voulu replacer le groupe des XX dans son contexte économique, politique et social. La diversification des approches et des sources était donc un aspect essentiel de nos recherches. Plusieurs voies d’approche ont été empruntées, telles que l’histoire culturelle, la sociologie de l’art, l’histoire du marché de l’art, l’analyse politique ainsi que l’étude de la visual culture.

Dans un premier temps, nous analysons l’émergence de la nouvelle scène artistique construite autour du groupe des XX. Nous débutons par une analyse plus monographique du parcours de Maus afin de définir les qualités essentielles de l’animateur d’art qu’il incarne, ainsi que son rôle dans la reconfiguration du milieu culturel. Ensuite, notre étude se concentre sur la mobilisation d’un public autour des salons et la mise en place d’un nouveau marché de l’art aux XX.

Dans un second temps, notre étude se penche sur les œuvres créées par les XX et sélectionnées par le public d’amateurs fidèles au groupe. Nous éclairons cette production artistique en y décelant les influences des questionnements et des prises de position sociales et politiques du public des XX, défini précédemment. L’analyse iconographique et stylistique des œuvres s’accompagne d’un travail sur ce milieu culturel, et particulièrement sur ses positions face aux débats sociaux de l’époque. Cette étude aboutit, d’une part, à une description approfondie du public des XX, et, d’autre part, à une meilleure compréhension de l’originalité de la production esthétique des artistes du groupe. /

This PhD thesis concentrates on the mechanisms by which the artistic world in Brussels was reorganized at the end of the 19th century. The research focuses on the places, institutions, publics, art markets and aesthetic developments that characterized the new artistic scene constructed around the “Salon des XX”. The purpose of this study is to demonstrate that this artistic circle, led by Octave Maus, produced an art influenced by social, political and economic issues. Another aim has been to analyze the public that defended the artists by studying its social, cultural and generational nature.

This thesis, which is divided into two parts, for the first time explores the circle of the XX in its economic, political and social environment. The diversification of sources and scientific methods was therefore an essential aspect of the research. Different methods were applied such as, for example, the cultural history, the sociology of art, the history of the art market, political sciences and the visual culture.

The first part of this study is about the emergence of a new artistic scene founded around the “Groupe des XX”. The first objective was to investigate the personal and professional path followed by Octave Maus, the manager of the XX, who played a major role in the evolution of the cultural world. Subsequently the research focuses on the mobilization of a particular public and the creation of a new art market around the XX’s exhibitions.

The second part of this thesis considers the works of art created by the artists of the “Groupe des XX” and chosen by the public for private collections. New light is shed on this artistic production by the study of the social and political position of the XX’s public, considered as a social group. Hence the iconographic and stylistic analysis of the works goes together with a study of the XX’s milieu, and in particular with its political action. The present thesis, and the method that aims to study the works in parallel with the public’s social nature, lead to a better understanding of the cultural milieu and, at the same time, of the originality of the XX’s artistic creation.


Doctorat en Histoire, art et archéologie
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De, Vries Jetteke. "An investigation of cultural dislocation in the work of selected artists." Thesis, 2015. http://hdl.handle.net/10321/1434.

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Submitted in partial fulfilment of the requirements of the degree of Master of Technology: Fine Art, Durban University of Technology, Durban, South Africa, 2015.
This dissertation sets out to investigate cultural dislocation in the work of Leora Farber (1964), Viviane Sassen (1972), George Alamidis (1954) and my art practice. The paper begins by highlighting the importance of this study and defines terminology for the purpose of this research. In addition an explanation of the research methodology used is provided. The study is contextualised through a discussion of writings by Stuart Hall (1997), Edward Said (1987), Heidi Armbruster (2010), Chloe Sells (2011), Katheryn Woodward (1997), Michel Foucault (1967), Leora Farber (2012) and Lorin Friesen (2013). An analysis of the selected artists’ work reveals an investigation of cultural dislocation within diverse cultural contexts. Farber investigates her position as a second generation Jewish woman in post- colonial, post-Apartheid South Africa through the use of three protagonists. She does this in an attempt to create a lasting Jewish / South African hybrid identity. She explores not only her Jewish heritage and its connotations, but also the changing notions of white identity in post 1994 South Africa. Sassen, in her photographic depiction of obscured African subjects, challenges the viewer’s perceptions of Africa and positions herself as being ‘in-between’ Africa and the Netherlands, where she “will always be the stranger … and will never be part of the culture” (Sassen in Jaeger 2010). Alamidis’ work explores cultural dislocation in the context of migration, eloquently expressed through the use of the identity cards of 1950s Greek immigrants as visual metaphors for the loss of identity. I explore cultural dislocation through the history of three female protagonists (my grandmother, mother and myself) and their migration between the Netherlands and Southern Africa. The protagonists’ cultural narratives provide an historical context for a discussion of my art practice in the form of an exhibition titled Discovering Home. The conclusion outlines the research findings and identifies possible areas of future research. The main research finding reveals that the formation of a new subject identity, post migration, is dependent on a specific (historical) time and (geographical and psychological) space. An area of possible future research, in the context of cultural dislocation, is the use of Foucault’s (1967) theory of heterotopias to explore the idea of the ‘third space’ functioning as a personal heterotopia.
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Books on the topic "Artists Anonymous (Group of artists)"

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artists), Artists Anonymous (Group of. The apocalyptic warriors, 2006-2009. Cologne: DuMont, 2010.

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Dingwerth, Shaun Thomas. The Richmond Group artists. Bloomington, Indiana: Indiana University Press, 2014.

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Schuler, Carol, and Miriam West. German book illustrations before 1500: Anonymous artists 1491. Norwalk, Conn: Abaris Books, 2011.

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International, Ora. Artists 8: Future Legacies : The ORA group of Eight Safed artists. [S.l.]: ORA International, 1990.

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Anonymous was a woman. New York: St. Martin's Griffin, 1995.

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Gallery, Delhi Art, ed. Mumbai modern: Progressive artists' group, 1947-2013. New Delhi: Delhi Art Gallery, 2013.

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Lucie-Smith, Edward. Sussex writers & artists. Lewes: Snake River Press, 2007.

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Anonymous. Anonymous portrait of Mike Land/Philadelphia/early Aughts. Philadelphia, PA: Anonymous, 2002.

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Nicholson, Virginia. Charleston: An artists' home. [Charleston]: Charleston Trust, 1999.

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Weber, Nicholas Fox. The Bauhaus group: Six masters of modernism. New Haven [Conn.]: Yale University Press, 2011.

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Book chapters on the topic "Artists Anonymous (Group of artists)"

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Spiropoulou, Angeliki. "A ‘Common History’: Anonymous Artists, Communal Collectivities." In Virginia Woolf, Modernity and History, 162–76. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230250444_9.

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Clarke, Paul. "Performing Art History: Non-Linear, Synchronous and Syncopated Times in Performance Re-Enactment Society’s Group Show (Arnolfini, Bristol 2012)." In Artists in the Archive, 116–42. Abingdon, Oxon; New York: Routledge,: Routledge, 2018. http://dx.doi.org/10.4324/9781315680972-13.

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Leonelli, Lisa. "Per un profilo di Francesco Soderini, pittore «assai ragionevole nella storia e nei paesi, in grande e più in piccolo»." In Studi e saggi, 165–86. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.10.

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Francesco Soderini (1671-1736), father of Mauro Soderini (1703-1751), was a Florentine painter who worked for the last members of the Medici dynasty, expecially for the Electress of the Palatinate Anna Maria Luisa, the only daughter of the granduke Cosimo III de’ Medici. Among the artist’s works, only the paintings for Villa La Quiete, the place where Anna Maria Luisa stayed during her last years, are well studied. This paper proposes new attributions to Soderini by recognising his style in some canvases presented on the art market and attributed to anonymous artists. These paintings contribute to a more accurate acknowledgement of the artist and of his style, which was very appreciated by his contemporaries.
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Haggadone, Brad A. "Conspicuous art and anonymous artists." In The High North in a Time of Transition, 89–98. Routledge, 2018. http://dx.doi.org/10.4324/9781315208848-9.

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"Ottoline Morrell: Artists Revels." In The Bloomsbury Group, edited by S. P. Rosenbaum, 312–16. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781487573768-057.

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"The Black Artists’ Group." In Flyboy 2, 50–55. Duke University Press, 2020. http://dx.doi.org/10.1515/9780822373995-007.

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"The Black Artists’ Group." In Flyboy 2, 50–55. Duke University Press, 2016. http://dx.doi.org/10.1215/9780822373995-014.

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"Problems of Deranged Minds, Artists, and Psychiatrists." In The Cybernetics Group. The MIT Press, 1991. http://dx.doi.org/10.7551/mitpress/2260.003.0008.

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"Anhang 3: Anonyme Künstler / Appendix 3: Anonymous Artists." In Internationales Verzeichnis der Monogramme bildender Künstler seit 1850 / International List of Monograms in the Visual Arts since 1850. Berlin, Boston: De Gruyter, 1999. http://dx.doi.org/10.1515/9783110804539-034.

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"9. The Government Serves Art: Do Art Subsidies Serve the Public Interest or Group Interests?" In Why Are Artists Poor?, 203–31. Amsterdam University Press, 2002. http://dx.doi.org/10.1515/9789048503650-010.

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Conference papers on the topic "Artists Anonymous (Group of artists)"

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Reiser, Susan, and Phill Conrad. "A processing primer for artists." In SIGGRAPH '17: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084863.3107579.

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Mokhov, Serguei A., Miao Song, Sudhir P. Mudur, and Peter Grogono. "Dataflow VFX Programming and Processing for Artists and OpenISS." In SIGGRAPH '20: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3388763.3407760.

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Eales, R. T. Jim, and Dharani Perera. "Creativity Support: Insights from the Practices of Digital-Atomic Artists." In Proceedings of HCI 2007 The 21st British HCI Group Annual Conference University of Lancaster, UK. BCS Learning & Development, 2007. http://dx.doi.org/10.14236/ewic/hci2007.3.

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O'Leary, Ceara, and Tadd Heidgerken. "Avis + Elsmere: A Collaborative Community Design Precedent." In AIA/ACSA Intersections Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.aia.inter.19.4.

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"Vibrant neighborhood spaces pave the way for more resilient and inclusive communities. This paper showcases a neighborhood space resulting from a collaborative, community-led design process that honors local knowledge and responds to contextual challenges. Avis + Elsmere, a project in Detroit, offers a model for collaborative practice as the product of a robust relationship between the client-collaborator – grassroots organization Inside Southwest Detroit – a diverse stakeholder group of neighbors and artists, the Detroit Collaborative Design Center (DCDC) at the University of Detroit Mercy (UDM), and the architecture office Et al. Collaborative"
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Malysheva, Olga Adolfovna. "Features of work on a fairy tale in primary classes in the framework of project activities." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-53625.

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The article is devoted to the problem of introducing the subject “Literary reading in the native language (Russian)”, including the formation of reading literacy among younger students, and interest in reading based on project activities. The features of the organization of research projects based on a comparison of Russian folk tales and cartoons created based on their motives are considered. As an example, the work on a project on the theme “Baba Yaga: good or evil?”, During which students performed tasks in accordance with the characteristics of their group: moviegoers, book lovers, sages, artists, is shown.
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Morik, Marco, Ashudeep Singh, Jessica Hong, and Thorsten Joachims. "Controlling Fairness and Bias in Dynamic Learning-to-Rank (Extended Abstract)." In Thirtieth International Joint Conference on Artificial Intelligence {IJCAI-21}. California: International Joint Conferences on Artificial Intelligence Organization, 2021. http://dx.doi.org/10.24963/ijcai.2021/655.

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Rankings are the primary interface through which many online platforms match users to items (e.g. news, products, music, video). In these two-sided markets, not only do the users draw utility from the rankings, but the rankings also determine the utility (e.g. exposure, revenue) for the item providers (e.g. publishers, sellers, artists, studios). It has already been noted that myopically optimizing utility to the users -- as done by virtually all learning-to-rank algorithms -- can be unfair to the item providers. We, therefore, present a learning-to-rank approach for explicitly enforcing merit-based fairness guarantees to groups of items (e.g. articles by the same publisher, tracks by the same artist). In particular, we propose a learning algorithm that ensures notions of amortized group fairness, while simultaneously learning the ranking function from implicit feedback data. The algorithm takes the form of a controller that integrates unbiased estimators for both fairness and utility, dynamically adapting both as more data becomes available. In addition to its rigorous theoretical foundation and convergence guarantees, we find empirically that the algorithm is highly practical and robust.
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Abbas, Naqaa, and Hend Taher. "Celebrating Culture - Literary Communities of Practice in Doha." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0264.

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Our paper focuses on the role of arts and culture in Doha. More specifically, we examine literary circles in Doha (both Arab and English speaking) and regard them as ‘communities of practice.’ According to Etienne Wenger, communities of practice are “groups of people who share a concern or a passion for something they do and learn how to do it better as they interact regularly.” Moreover, such communities are seen as promoting innovation, developing social capital, facilitating and spreading knowledge within a group, and spreading existing knowledge. Recently, there has been a surge of active literary communities presenting their creative work in both English and Arabic attracting a variety of audiences and fans. For instance, young authors such as Kumam Al Maadeed, Eissa Abdullah, Buthaina Al-Janahi and Abdullah Fakhro not only have a huge online following, but they also have a significant fan base attending their events throughout the city. Besides these communities, there are also numerous organizations with which these celebrity authors are associated such as Qalam Hebr, Qatari Forum for Authors, and Outspoken Doha – we argue that such organizations can also be regarded as communities of practice. Our contention is that these ever-growing communities provide a performative space in which poets, singers, authors and artists can experiment with the fluidity of their assigned identities, cultures and traditions.
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Reports on the topic "Artists Anonymous (Group of artists)"

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Pollock, Wilson. Pivot the Future Makers: Building our People and Places. Edited by Musheer O. Kamau, Sasha Baxter, and Golda Kezia Lee Bruce. Inter-American Development Bank, April 2021. http://dx.doi.org/10.18235/0003188.

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Pivot is a movement of radical ideas for the Caribbean of the future. In 2020, the IDB and its partners (Caribbean Climate Smart-Accelerator (CCSA), Destination Experience (DE), and Singularity University) launched The Pivot Movement and asked the people of the Caribbean to think of big ideas to transform the region. A small group came together at The Pivot Event to design 9 moonshots for electric vehicles, digital transformation and tourism. Pivot: The Future Makers is a comic book produced by the Pivot partners and illustrated by Caribbean artists. In it, the 9 moonshots have been developed into fictional stories as a simple and powerful means of conveying possible, probable futures, to help us visualize the Caribbean in 2040.
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